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Description
Woody plant encroachment is a worldwide phenomenon linked to water availability in semiarid systems. Nevertheless, the implications of woody plant encroachment on the hydrologic cycle are poorly understood, especially at the catchment scale. This study takes place in a pair of small semiarid rangeland undergoing the encroachment of Prosopis velutina Woot., or velvet mesquite tree. The similarly-sized basins are in close proximity, leading to equivalent meteorological and soil conditions. One basin was treated for mesquite in 1974, while the other represents the encroachment process. A sensor network was installed to measure ecohydrological states and fluxes, including precipitation, runoff, soil moisture and evapotranspiration. Observations from June 1, 2011 through September 30, 2012 are presented to describe the seasonality and spatial variability of ecohydrological conditions during the North American Monsoon (NAM). Runoff observations are linked to historical changes in runoff production in each watershed. Observations indicate that the mesquite-treated basin generates more runoff pulses and greater runoff volume for small rainfall events, while the mesquite-encroached basin generates more runoff volume for large rainfall events. A distributed hydrologic model is applied to both basins to investigate the runoff threshold processes experienced during the NAM. Vegetation in the two basins is classified into grass, mesquite, or bare soil using high-resolution imagery. Model predictions are used to investigate the vegetation controls on soil moisture, evapotranspiration, and runoff generation. The distributed model shows that grass and mesquite sites retain the highest levels of soil moisture. The model also captures the runoff generation differences between the two watersheds that have been observed over the past decade. Generally, grass sites in the mesquite-treated basin have less plant interception and evapotranspiration, leading to higher soil moisture that supports greater runoff for small rainfall events. For large rainfall events, the mesquite-encroached basin produces greater runoff due to its higher fraction of bare soil. The results of this study show that a distributed hydrologic model can be used to explain runoff threshold processes linked to woody plant encroachment at the catchment-scale and provides useful interpretations for rangeland management in semiarid areas.
ContributorsPierini, Nicole A (Author) / Vivoni, Enrique R (Thesis advisor) / Wang, Zhi-Hua (Committee member) / Mays, Larry W. (Committee member) / Arizona State University (Publisher)
Created2013
Description
The contemporary architectural pedagogy is far removed from its ancestry: the classical Beaux-Arts and polytechnic schools of the 19th century and the Bauhaus and Vkhutemas models of the modern period. Today, the "digital" has invaded the academy and shapes pedagogical practices, epistemologies, and ontologies within it, and this invasion is reflected in teaching practices, principles, and tools. Much of this digital integration goes unremarked and may not even be explicitly taught. In this qualitative research project, interviews with 18 leading architecture lecturers, professors, and deans from programs across the United States were conducted. These interviews focused on advanced practices of digital architecture, such as the use of digital tools, and how these practices are viewed. These interviews yielded a wealth of information about the uses (and abuses) of advanced digital technologies within the architectural academy, and the results were analyzed using the methods of phenomenology and grounded theory. Most schools use digital technologies to some extent, although this extent varies greatly. While some schools have abandoned hand-drawing and other hand-based craft almost entirely, others have retained traditional techniques and use digital technologies sparingly. Reasons for using digital design processes include industry pressure as well as the increased ability to solve problems and the speed with which they could be solved. Despite the prevalence of digital design, most programs did not teach related design software explicitly, if at all, instead requiring students (especially graduate students) to learn to use them outside the design studio. Some of the problems with digital design identified in the interviews include social problems such as alienation as well as issues like understanding scale and embodiment of skill.
ContributorsAlqabandy, Hamad (Author) / Brandt, Beverly (Thesis advisor) / Mesch, Claudia (Committee member) / Newton, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
In the middle of the 20th century, juried annuals of Native American painting in art museums were unique opportunities because of their select focus on two-dimensional art as opposed to "craft" objects and their inclusion of artists from across the United States. Their first fifteen years were critical for patronage and widespread acceptance of modern easel painting. Held at the Philbrook Art Center in Tulsa (1946-1979), the Denver Art Museum (1951-1954), and the Museum of New Mexico Art Gallery in Santa Fe (1956-1965), they were significant not only for the accolades and prestige they garnered for award winners, but also for setting standards of quality and style at the time. During the early years of the annuals, the art was changing, some moving away from conventional forms derived from the early art training of the 1920s and 30s in the Southwest and Oklahoma, and incorporating modern themes and styles acquired through expanded opportunities for travel and education. The competitions reinforced and reflected a variety of attitudes about contemporary art which ranged from preserving the authenticity of the traditional style to encouraging experimentation. Ultimately becoming sites of conflict, the museums that hosted annuals contested the directions in which artists were working. Exhibition catalogs, archived documents, and newspaper and magazine articles about the annuals provide details on the exhibits and the changes that occurred over time. The museums' guidelines and motivations, and the statistics on the award winners reveal attitudes toward the art. The institutions' reactions in the face of controversy and their adjustments to the annuals' guidelines impart the compromises each made as they adapted to new trends that occurred in Native American painting over a fifteen year period. This thesis compares the approaches of three museums to their juried annuals and establishes the existence of a variety of attitudes on contemporary Native American painting from 1946-1960. Through this collection of institutional views, the competitions maintained a patronage base for traditional style painting while providing opportunities for experimentation, paving the way for the great variety and artistic progress of Native American painting today.
ContributorsPeters, Stephanie (Author) / Duncan, Kate (Thesis advisor) / Fahlman, Betsy (Thesis advisor) / Mesch, Claudia (Committee member) / Arizona State University (Publisher)
Created2012
Description
Some of the most talented, innovative, and experimental artists are students, but they are often discouraged by the price of higher education and lack of scholarship or funding opportunities. Additionally, the art industry has become stagnant. Traditional brick-and-mortar galleries are not willing to represent young, unknown artists. Their overhead is simply too high for risky choices.
The Student Art Project is art patronage for the 21st century—a curated online gallery featuring exceptional student artists. The Student Art Project is a highly curated experience for buyers. Only five artists are featured each month. Buyers are not bombarded with thousands of different products and separate artists “shops”. They can read artists bios and find art they connect with.
Student artists apply through an online form. Once accepted to the program, artists receive a $200 materials stipend to create an exclusive collection of 5-10 pieces. Original artwork and limited edition prints are sold through our website. These collections can potentially fund an entire year of college tuition, a life-changing amount for many students.
Brick-and-mortar galleries typically take 40-60% of the retail price of artwork. The Student Art Project will only take 30%, which we will use to reinvest in future artists. Other art websites, like Etsy, require the artists to ship, invoice, and communicate with customers. For students, this means less time spent in the classroom and less time developing their craft. The Student Art Project handles all business functions for our artists, allowing them to concentrate on what really matters, their education.
The Student Art Project is art patronage for the 21st century—a curated online gallery featuring exceptional student artists. The Student Art Project is a highly curated experience for buyers. Only five artists are featured each month. Buyers are not bombarded with thousands of different products and separate artists “shops”. They can read artists bios and find art they connect with.
Student artists apply through an online form. Once accepted to the program, artists receive a $200 materials stipend to create an exclusive collection of 5-10 pieces. Original artwork and limited edition prints are sold through our website. These collections can potentially fund an entire year of college tuition, a life-changing amount for many students.
Brick-and-mortar galleries typically take 40-60% of the retail price of artwork. The Student Art Project will only take 30%, which we will use to reinvest in future artists. Other art websites, like Etsy, require the artists to ship, invoice, and communicate with customers. For students, this means less time spent in the classroom and less time developing their craft. The Student Art Project handles all business functions for our artists, allowing them to concentrate on what really matters, their education.
ContributorsDangler, Rebecca Leigh (Author) / Trujillo, Rhett (Thesis director) / Coleman, Sean (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / Department of Management (Contributor)
Created2015-05
Description
Drought is one of the most pressing issues affecting the future of the standard of living here in Phoenix. With the threat of water rationing and steep price hikes looming on the horizon for water customers in California, the desert southwest, and in drought-stricken communities worldwide, industrial designers are in a prime position to help improve the experience of water conservation so that consumers are willing to start taking conscious steps toward rethinking their relationship with water usage.
In a research group, several designers sought to understand the depth and complexity of this highly politicized issue by interviewing a wide variety of stakeholders, including sustainability experts, landscapers, water company executives, small business owners, reservoir forest rangers, and many more. Data synthesis led to the conclusion that residential water use is a lifestyle issue, and the only real way to conserve involves a significant shift in the collective idea of an “ideal” home—lawns, pools, and overwatered landscaping contribute to 70% of all water use by residences in the Phoenix area. The only real way to conserve involves increasing population density and creating communal green spaces.
DR. DISH is a dishwashing device that is meant to fit into the high-density living spaces that are rapidly being built in the face of the massive exodus of people into the world’s cities. To help busy apartment and condominium dwellers conserve water and time, DR. DISH converts a standard kitchen sink into a small dishwasher, which uses significantly less water than hand-washing dishes or rinsing dishes before putting them into a conventional dishwasher. Using advanced filtration technology and a powerful rinse cycle, a load dishes can be cleaned with about 2 gallons of water. Fully automating the dishwashing process also saves the user time and minimizes unpleasant contact with food residue and grease.
This device is meant to have a significant impact upon the water use of households that do not have a dishwasher, or simply do not use their dishwasher. With a low target price point and myriad convenient features, DR. DISH is a high-tech solution that promises water savings at a time when every effort toward conservation is absolutely critical. As we move toward a new era in determining water rights and imposing mandatory restrictions upon each and every person living in affected areas, creating conservation solutions that will be relevant for the lifestyles of the future is especially important, and the agility of designers in coming up with products that quickly cut consumer water consumption will be a key factor in determining whether humanity will be able to adapt to a new era in our relationship with natural resources.
In a research group, several designers sought to understand the depth and complexity of this highly politicized issue by interviewing a wide variety of stakeholders, including sustainability experts, landscapers, water company executives, small business owners, reservoir forest rangers, and many more. Data synthesis led to the conclusion that residential water use is a lifestyle issue, and the only real way to conserve involves a significant shift in the collective idea of an “ideal” home—lawns, pools, and overwatered landscaping contribute to 70% of all water use by residences in the Phoenix area. The only real way to conserve involves increasing population density and creating communal green spaces.
DR. DISH is a dishwashing device that is meant to fit into the high-density living spaces that are rapidly being built in the face of the massive exodus of people into the world’s cities. To help busy apartment and condominium dwellers conserve water and time, DR. DISH converts a standard kitchen sink into a small dishwasher, which uses significantly less water than hand-washing dishes or rinsing dishes before putting them into a conventional dishwasher. Using advanced filtration technology and a powerful rinse cycle, a load dishes can be cleaned with about 2 gallons of water. Fully automating the dishwashing process also saves the user time and minimizes unpleasant contact with food residue and grease.
This device is meant to have a significant impact upon the water use of households that do not have a dishwasher, or simply do not use their dishwasher. With a low target price point and myriad convenient features, DR. DISH is a high-tech solution that promises water savings at a time when every effort toward conservation is absolutely critical. As we move toward a new era in determining water rights and imposing mandatory restrictions upon each and every person living in affected areas, creating conservation solutions that will be relevant for the lifestyles of the future is especially important, and the agility of designers in coming up with products that quickly cut consumer water consumption will be a key factor in determining whether humanity will be able to adapt to a new era in our relationship with natural resources.
ContributorsMarcinkowski, Margaret Nicole (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / The Design School (Contributor) / Herberger Institute for Design and the Arts (Contributor)
Created2015-05
Description
Fire Shelter Foam Assist is meant as a firefighter's last effort of survival when a wildfire threatens their position. When deployed, it will cover the firefighter as the fire blows over. By reducing the time of deployment and simplifying the process, firefighters will have more time to ensure the area around them is cleared. The Fire Shelter Foam Assist has features that allow it to auto deploy around the firefighter through the use of fire foam retardant. The fire foam retardant inflates the shelter as well as provides an extra layer of protection against the wildfire.
ContributorsSmith, Tori Elizabeth (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / The Design School (Contributor)
Created2015-05
Description
After researching pediatric cancer experiences, an opportunity emerged creating a less intimidating environment for children undergoing chemotherapy. By means of adding a creative component to their IV pole and disguising machinery, children will be a part of an Imagination Voyage adventure. Creative themes allow for a journey on a pirate ship, or being in a fantasy castle by captivating children in playtime. The design allows for a frightening experience to become a positive one.
ContributorsHerold, Brittany Ann (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor) / The Design School (Contributor)
Created2015-05
Description
I set out to better understand the issues, perceptions & solutions surrounding drought. The question that compelled my project was "What might be all the ways that we can improve the experience of conserving, reusing & educating on the topic of water." Through the process of design research I developed a system of products that improves the user experiences surrounding water. The result is IOW, an intelligent 3-product system that aims to make your water needs & wants smarter & less wasteful.
ContributorsShappee, Christian Kyle (Author) / Shin, Dosun (Thesis director) / McDermott, Lauren (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Sustainability (Contributor) / The Design School (Contributor)
Created2015-05
Description
The fashion industry dubs couture as high fashion, yet couture never reaches the finish line when it comes to comfort. Most of the brand name high heels on the market are too painful to wear for long periods of time. For this project, I have developed 3D printed high heels with detachable insoles that will relieve tired feet based on the principle of reflexology. The product integrates traditional flexible insoles with Arduino computing and the result is a functional surface that can ease the pain of the wearer. This paper introduces the product and with it, under-explored opportunities to customize your own high heels at home. Essentially, each consumer will have the ability to personalize and switch out their style without sacrificing comfort. Soon, a consumer will be a designer.
ContributorsNguyen, Nhi N. (Author) / Ingalls, Todd (Thesis director) / Gigantino, Josh (Committee member) / Barrett, The Honors College (Contributor) / Herberger Institute for Design and the Arts (Contributor) / School of Arts, Media and Engineering (Contributor)
Created2015-05
Description
Today, the global fashion industry is valued at $450 billion, and considered one of the most important sectors of the global economy (Global Action Through Fashion, 2015). The term fashion means more than just designing apparel or accessories as the industry encompasses jobs from production to inventory management, merchandising, marketing, production, and retail management. The fashion industry is one of the world’s largest markets as it employs over 75 million people and generates $1.7 trillion in revenue annually (Global Action Through Fashion, 2015). It is a dynamic, fast-paced industry that requires constant innovation ideas and strategic planning.
Chloe Bosmeny and Audree López, senior marketing students at W. P. Carey have created a proposal for W. P. Carey School of Business and Herberger Institute for Design and the Arts to join together to create an interdisciplinary resource for students interested in pursuing a career in fashion. There are three recommendations in the thesis: the implementation of a Fashion Merchandising certificate encompassing both W. P. Carey and Herberger curriculum, ASU joining the Fashion Institute of Technology’s 3+1 program for dual degrees in New York City, and lastly, improving professional development and career recruitment for ASU students interested in fashion.
But why fashion at Arizona State University? Throughout college, Bosmeny and López struggled to gain the background, skills and experience needed to understand the fashion industry. They, like many of their peers, felt that without the credentials of a university-sponsored fashion program, they weren't marketable to employers. These challenges drove Bosmeny and López to advocate for more fashion resources at ASU.
Based on support from student surveys, in-depth interviews with industry professionals, feedback from ASU Alumni and input from ASU’s largest fashion organization, The Business of Fashion Club- there is a strong desire for increased fashion programming at ASU. There are currently 266 student theses surrounding the keyword “fashion” from Barrett, the Honors College, but there has not been a direct push from students to implement a program at ASU. This thesis aims to illustrate the important ways such programming will greatly benefit ASU and its stakeholders.
In our thesis we will investigate current ASU opportunities related to fashion, gather information from fashion business professionals, gauge student interest in pursuing careers in fashion, and look to peer and aspirational schools in an effort to better understand fashion career resources nationwide. Our hope is to build a stronger curriculum and more successful resources for students to give them the skillsets needed for a successful career in fashion.
Chloe Bosmeny and Audree López, senior marketing students at W. P. Carey have created a proposal for W. P. Carey School of Business and Herberger Institute for Design and the Arts to join together to create an interdisciplinary resource for students interested in pursuing a career in fashion. There are three recommendations in the thesis: the implementation of a Fashion Merchandising certificate encompassing both W. P. Carey and Herberger curriculum, ASU joining the Fashion Institute of Technology’s 3+1 program for dual degrees in New York City, and lastly, improving professional development and career recruitment for ASU students interested in fashion.
But why fashion at Arizona State University? Throughout college, Bosmeny and López struggled to gain the background, skills and experience needed to understand the fashion industry. They, like many of their peers, felt that without the credentials of a university-sponsored fashion program, they weren't marketable to employers. These challenges drove Bosmeny and López to advocate for more fashion resources at ASU.
Based on support from student surveys, in-depth interviews with industry professionals, feedback from ASU Alumni and input from ASU’s largest fashion organization, The Business of Fashion Club- there is a strong desire for increased fashion programming at ASU. There are currently 266 student theses surrounding the keyword “fashion” from Barrett, the Honors College, but there has not been a direct push from students to implement a program at ASU. This thesis aims to illustrate the important ways such programming will greatly benefit ASU and its stakeholders.
In our thesis we will investigate current ASU opportunities related to fashion, gather information from fashion business professionals, gauge student interest in pursuing careers in fashion, and look to peer and aspirational schools in an effort to better understand fashion career resources nationwide. Our hope is to build a stronger curriculum and more successful resources for students to give them the skillsets needed for a successful career in fashion.
ContributorsLopez, Audree (Co-author) / Bosmeny, Chloe (Co-author) / Ostrom, Amy (Thesis director) / Setlow, Jennifer (Committee member) / Barrett, The Honors College (Contributor) / Department of Marketing (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Herberger Institute for Design and the Arts (Contributor) / W. P. Carey School of Business (Contributor)
Created2015-05